LOAN  EXHIBITION  OF 
IMPRESSIONIST  AND 
POST- IMPRESSIONIST 
PAINTINGS 


MCMXXI 


LOAN  EXHIBITION  OF 
IMPRESSIONIST  AND 
POST-IMPRESSIONIST 
PAINTINGS 


THE  METROPOLITAN  MUSEUM  OF  ART 

LOAN  EXHIBITION  OF 
IMPRESSIONIST  AND 
POST-IMPRESSIONIST 
PAINTINGS 


NEW  YORK 
MAY  3  to  SEPTEMBER  I  5 
MCMXXI 


Copyright  by 
The  Metropolitan  Museum  of  Art 
May,  1 92 1 


LENDERS  TO  THE 
EXHIBITION 


Anonymous* 

Walter  C.  Arensberg 

Mrs.  Harry  Payne  Bingham 

Mrs.  Gano  Dunn 

Hamilton  Easter  Field 

Adolph  Lewisohn 

Mrs.  Eugene  Meyer,  Jr. 

William  Church  Osborn 

John  Quinn 

Mrs.  Charles  H.  Senff 

Josef  Stransky 

Mrs.  George  Vanderbilt 

Mrs.  J.  Van  Gogh-Bonger 

Harris  Whittemore 

*  Seven  persons  have 
lent  anonymously. 


INTRODUCTION 


THE  farther  away  we  get  from  the  nineteenth  cen- 
tury the  plainer  it  appears,  in  France  at  least,  as  one 
of  the  great  periods  in  our  artistic  history.  Artists  as 
near  us  as  Courbet,  Manet,  Puvis  de  Chavannes, 
Renoir,  and  Degas,  though  the  subjects  of  violent  con- 
troversies during  their  lives,  are  already  generally  rec- 
ognized as  the  latest  of  the  old  masters.  Cezanne  is 
still  a  subject  of  dispute,  but  the  arguments  are  not 
so  bitter  as  they  were  ten  years  ago — he  also  is  taking 
his  place  in  the  pantheon.  The  question  as  to  Gauguin 
and  Van  Gogh,  whose  fame  arose  at  about  the  same 
time  as  that  of  Cezanne,  is  also  nearing  solution.  The 
battle  about  the  later  painters,  Matisse,  Derain,  and 
Picasso,  still  in  the  prime  of  life  and  work,  wages 
furiously,  with  the  decision  still  in  doubt.  Few,  how- 
ever, would  deny  that  they  are  the  most  aggressive 
forces  in  the  art  of  to-day — the  fact  is  proved  by  the  ex- 
cessive admiration  and  the  excessive  detestation  that 
their  work  excites. 

This  present  loan  exhibition  illustrates  the  above 
facts  as  they  are  recorded  in  collections  of  pictures  in 
New  York.  It  was  undertaken  in  response  to  a  re- 
quest from  a  group  of  art  lovers*  who  felt  that  the 

*  Mrs.  Harry  Payne  Bingham,  Miss  Lizzie  P.  Bliss,  Arthur 
B.  Davies,  Paul  Dougherty,  Mrs.  Eugene  Meyer,  Jr.,  John 
Quinn,  and  Mrs.  Harry  Payne  Whitney. 

vii 


INTRODUCTION 


educational  value  of  such  an  exhibition  would  be 
greater  if  held  in  our  Museum,  where  the  modern 
works  could  be  easily  compared  with  examples  of  art  of 
long-recognized  excellence,  shown  in  near-by  galleries. 

The  exhibition  makes  no  pretense  of  historical  com- 
pleteness in  showing  the  development  of  style,  nor  of 
the  proportional  importance  of  the  different  artists  by 
the  number  of  their  works  which  the  exhibition  com- 
prises. From  the  available  material  generously  placed 
at  our  disposal,  it  was  necessary  to  limit  the  choice  to 
the  relatively  small  number  of  pictures  which  the 
gallery  could  hold,  and  the  works  less  frequently  seen 
have  been  selected  in  preference  to  those  more  familiar 
to  our  public.  It  thus  happens  that  Cezanne  is  here 
represented  by  twenty-three  pictures  and  Claude  Monet 
by  only  six.  Single  paintings  by  Courbet,  Puvis,  and 
several  rarely  seen  works  by  Manet  have  been  included, 
affording  points  of  immediate  comparison  with  the 
art  of  their  fellows  and  successors,  and  making  evident 
the  logical  development  of  the  course  of  painting,  a 
fact  which  in  the  discussions  on  contemporary  art  is 
frequently  lost  sight  of.  The  usual  attitude  of  the 
disputants  that  an  artist's  work  is  the  result  altogether 
of  his  divine  virtues  or  his  diabolical  perversity  is  not 
agreed  to  by  the  historian,  who  recognizes  that  the 
manifestations  in  art,  like  all  other  things  of  which 
we  are  cognizant,  are  the  absolute  outcome  of  what 
has  gone  before  as  they  are  the  cause  of  what  follows. 
From  this  point  of  view  the  visitor  is  invited  to  con- 
sider the  following  slight  summary  of  the  development 
and  the  scanty  explanations  of  the  work  of  its  present 
representatives. 

viii 


INTRODUCTION 


Though  the  art  of  the  nineteenth  century  appears 
to  have  wavered  between  the  expression  of  ideas,  on 
the  one  hand,  and  the  setting  down  of  facts,  on  the 
other,  its  pervading  tendency  was  realistic  and  the 
development  of  realism  was  its  distinctive  accomplish- 
ment. The  painting  of  David  is  the  manifestation  in 
art  of  the  same  force  that  overthrew  the  monarchy. 
As  court  painter  he  was  called  upon  to  record  the 
triumphs  and  ceremonies  of  Napoleon,  with  exactness 
of  costume  and  accessories  and  likenesses  of  the  prom- 
inent people.  Subjects  from  contemporary  life  as  well 
as  episodes  from  history  and  legend  were  painted  by 
his  successors,  with  more  and  more  adherence  to  actual 
fact.  This  development  proceeded  with  great  strides 
in  the  work  of  Gros  and  Gericault,  in  the  influence 
of  the  Englishmen  Constable  and  Turner,  and  above 
all  in  Delacroix,  whose  great  intelligence  anticipated 
all  the  discoveries  of  the  century.  Realism  was  in- 
evitably the  outcome  of  the  trend  of  the  time,  and 
Courbet  at  the  middle  of  the  century  pronounced  its 
creed. 

Manet  carried  on  the  example  of  Courbet  and  added 
to  painting  an  out-of-doors  effect  of  light  and  color 
which  the  older  artist,  who  worked  somewhat  in  the 
gamut  of  colors  of  the  seventeenth-century  realists, 
did  not  explore.  Artists  felt  free  to  paint  anything 
they  saw — the  'subject  matter'  became  less  and  less  of 
concern.  The  summit  of  the  realistic  rendering  of 
light  was  reached  by  Manet's  followers.  Never  be- 
fore had  atmospheric  effects  been  so  closely  imitated  as 
in  the  work  of  Claude  Monet;  the  particular  effect 
at  the  moment  of  time  was  his  peculiar  discovery.  At 


IX 


INTRODUCTION 


one  stage  of  his  career  he  even  believed  it  possible  to 
make  an  artist  out  of  an  ordinarily  endowed  student 
by  training  his  observation  and  teaching  him  the  laws 
of  color.  No  further  progress  in  the  naturalistic  rep- 
resentation of  light  and  air  was  possible  after  Claude 
Monet — the  line  of  the  Impressionists  ends  with  him. 

Such  in  barest  outline  is  the  history  of  the  tendency 
which  gave  to  the  history  of  art  the  one  novelty  of  the 
century.  The  weakness  of  the  movement  lay  in  its 
scant  reliance  on  imagination  or  intellectuality  and 
its  scorn  of  composition.  Its  realism  tended  towards 
an  imitation  of  the  merely  superficial  appearances. 
Great  artists  outside  of  its  main  current,  in  an  in- 
stinctive or  conscious  apprehension  of  its  dangers, 
avoided  them  by  reliance  on  the  traditional  canons. 
Three  of  these  who  have  taken  their  place  alongside 
of  the  famous  masters  of  realism  in  the  past  are  Ingres, 
Corot,  and  Degas.  Ingres  expressed  perfect  substance, 
texture,  and  character  in  an  austere  style  derived  from 
Raphael;  Corot  adapted  the  order  and  grandeur  of  a 
calmer  time  to  the  new  spirit  of  realism;  Degas  was 
a  subtle  and  fastidious  realist  with  strange  psycho- 
logical interests  which  he  applied  to  types  strictly  of 
his  own  day,  the  like  of  which  had  never  been  utilized 
before.  Other  artists  of  equal  power  leaned  toward 
an  idealistic  expression,  such  as  Puvis  de  Chavannes, 
whose  pictures  lead  one  into  an  age  of  gold  where  the 
people  are  free  from  all  the  bustle  of  our  time,  or 
Renoir,  who  transformed  elements  of  modern  life  into 
a  sensuousness  that  is  not  dissimilar  to  the  ideal  of  the 
eighteenth  century.  With  this  group  would  Redon 
be  placed,  though  his  work  is  not  so  imposing  as  the 


x 


INTRODU  CTION 

others:  out  of  facts  and  fancy  he  recreated  a  world 
of  visions  haunted  by  good  and  bad  angels ;  his  analogy 
in  the  past  can  be  found  in  those  early  Flemings,  such 
as  Jerome  Bosch,  who  were  fantastic  and  real,  often 
in  the  same  picture. 

The  Impressionists  were  the  virile  force  in  the  last 
quarter  of  the  century  and  among  them  the  origins 
of  the  later  styles  must  be  looked  for.  Pissarro,  how- 
ever closely  his  work  is  related  to  that  of  Monet  and 
Sisley,  was  the  unquiet  one  of  the  group  and  he  was 
the  effective  factor  in  the  tracing  of  the  new  paths. 
He  and  his  pupil  Seurat  searched  for  a  more  final 
reality,  inventing  by  the  way  a  method  of  painting  by 
the  juxtaposition  of  dots  of  pure  color.  Seurat  had 
he  lived  would  have  had  fame  as  great  as  any.  He 
was  logical  and  deliberate,  and  had  a  deep  sense  of 
proportion  and  equilibrium.  One  can  think  of  few 
pictures  that  give  a  bizarre  fashion  of  dress  a  nobler 
presentation  than  the  Sunday  at  the  Grande  Jatte. 
Its  fastidious  design  and  its  ennoblement  remind  one 
of  Piero  della  Francesca. 

Van  Gogh  was  also  influenced  by  Pissarro,  as  was 
Gauguin  in  his  early  days.  The  development  that  the 
former  effected  was  due  in  large  part  to  the  peculiarities 
of  his  individuality — a  nervous  intensity  that  was  near 
delirium  at  times.  Like  the  Impressionists  he  searched 
for  color  in  every  part  of  his  pictures,  in  shadow  as 
well  as  in  light,  and  he  shared  Seurat's  sense  of  the 
importance  of  form,  which  he,  however,  expressed  by 
means  of  agitated  outlines  and  violent  brush  strokes, 
the  opposite  of  Seurat's  deliberate  manner. 


XI 


INTRODUCTION 


Gauguin  was  the  romantic  of  the  post-impressionist 
generation,  with  a  nostalgia  for  strange  countries  and 
primitive  life.  He  also  was  an  insurgent  against  the 
diffuseness  of  the  Impressionists  and  confined  his  forms 
in  a  frank,  simplified  line,  within  which  he  laid  on 
his  rich  color  in  large,  flat  masses.  He  ignored  acci- 
dents and  facts  such  as  cast  shadows  and  natural  colors 
in  his  effort  after  expressive  decoration.  He  chose 
only  the  items  of  the  scene  that  were  significant  of 
the  idea  he  wished  to  express;  in  other  words,  he  was 
a  symbolist,  according  to  the  definition  of  1890,  as 
was  also  Puvis  de  Chavannes,  an  important  factor  in 
the  evolution  of  Gauguin's  final  style.  The  relation- 
ship between  Seurat,  Van  Gogh,  Gauguin,  and 
Cezanne  is  obvious;  each  in  his  own  manner  recorded 
the  fact  that  the  Impressionists  had  pushed  their 
theories  to  the  extreme  and  that  a  return  to  other  laws 
was  necessary. 

The  dominating  force  in  to-day's  development  is 
the  great  and  mysterious  figure  of  Cezanne.  His  early 
tastes  were  romantic  and  baroque;  he  resembled 
Daumier  and,  like  him,  delighted  in  powerful  relief  and 
contrasts  of  lights  and  heavy  black  shadows  in  the 
manner  of  the  seventeenth-century  Italians — Caravag- 
gio,  Ribera,  and  the  Carracci.  Later  he  displayed  a 
certain  likeness  to  Tintoretto;  his  pictures  of  the  nude 
have  something  of  the  nervous  statement  of  the  draw- 
ings of  the  great  Venetian,  while  his  spiritual  analogy 
to  Greco,  that  other  late  manifestation  of  a  powerful 
tradition  tired  of  robust  natural  forms  and  demanding 
a  new  expression  in  their  distortion,  has  been  fre- 
quently noted. 


xn 


INTRODUCTION 


It  was  Pissarro  who  initiated  Cezanne  into  painting 
in  prismatic  colors,  but  his  sensitiveness,  fine  to  the 
point  of  exasperation,  never  permitted  him  to  be  satis- 
fied with  the  impressionist  formula.  He  wished,  he 
is  quoted  as  having  said,  "to  make  of  Impressionism 
something  lasting,  like  the  art  in  the  Museums";  and 
also,  "to  do  again  what  Poussin  did  but  from  nature," 
His  imagination  was  restricted  and  after  his  early 
romantic  pictures  he  found  it  impossible  to  work  with- 
out having  before  him  what  he  was  painting ;  he  copied 
nature  as  exactly  as  his  technical  means  and  his  abso- 
lute subjugation  to  his  own  intuitive  impressions  per- 
mitted. His  was  the  most  personal  expression  of  the 
nineteenth  century. 

The  age  was  heartily  tired  of  the  output  of  the 
schools  of  art.  The  number  of  useless  pictures,  often 
of  great  technical  competence,  produced  each  year  in 
Paris  alone,  was  appalling.  Thousands  of  these  covered 
the  walls  of  each  exhibition  gallery;  great  size,  sen- 
sational subjects,  astonishing  virtuosity,  anything  was 
resorted  to  for  the  purpose  of  attracting  attention. 
Disgusted  people  turned  away  from  it  all  and  dis- 
covered Cezanne.  His  pictures,  moderate  in  size,  of 
simplest  motive  and  hesitating  workmanship,  make  no 
pretense.  They  only  record  the  sensations  of  a  single- 
minded,  very  sensitive  painter  before  the  sunlight  on 
an  ordinary  house  with  a  bare  hill  back  of  it,  or  the 
tired  commonplace  head  of  a  woman  against  a 
nondescript  wall,  or  some  fruit  on  a  dish.  His  fresh, 
lovely  color,  his  haunting  sincerity,  his  readily  grasped 
arrangements  were  hailed  as  the  manifestations  of  a 
regeneration  of  art,  and  the  aesthetes  found  delicious 


xiii 


INTRODUCTION 

stimulation  in  his  wayward  distortions  of  natural  form 
and  in  his  choppy  and  abrupt  brush  strokes. 

Cezanne's  rough,  heavy-handed  manner  suits  the 
time.  The  old  ideal  of  high  finish  and  careful  work- 
manship has  now  fallen  into  disfavor  and  an  unlabored 
and  sketchy  appearance  has  come  to  be  characteristic 
of  our  painting.  The  same  change  of  taste  has  shown 
itself  in  connoisseurship — the  critics  have  given  their 
admiration  to  arts  further  and  further  back  in  history, 
searching  ever  for  cruder  forms.  The  sculpture  of 
savages  now  occupies  the  place  which  pre-Raphael 
frescoes  held  in  the  aesthetics  of  our  grandfathers,  and 
the  influence  of  the  totem  pole  and  the  negro  idol  is 
found  in  the  work  of  the  typical  artists  of  to-day. 

Matisse  is  the  most  conspicuous  of  living  painters. 
The  synthetic  tendencies  of  the  post-impressionist 
period  have  developed  in  his  work  to  the  broadest 
simplifications  and  its  distortions  have  become  more 
purposeful  and  startling  in  his  hands.  His  drawing 
has  the  audacity  and  spontaneity  of  drawings  by  un- 
taught children;  his  colors  are  applied  directly  with  no 
overworking  at  all.  His  method  demands  the  clearest 
idea  beforehand  of  what  he  is  going  to  express,  and 
allows  of  no  elaboration.  The  freshness  of  his  first 
impression  is  what  he  strives  for  and  he  leaves  out 
much  that  we  have  been  accustomed  to  see.  Character 
and  light  are  his  aims  and  his  success  in  attaining  the 
latter  by  the  most  summary  means  will  be  appreciated 
on  comparing  his  Interior  in  this  exhibition  with 
similar  works  of  the  Impressionists,  relatively  drab  in 
the  contrast,  though  their  glaring  qualities  were  a 
scandal  in  1890. 

xiv 


INTRODUCTION 


Derain  travels  a  similar  road,  and  the  fact  that  the 
aims,  intellectual  as  well  as  technical,  of  these  two 
artists,  as  well  as  a  number  of  others  of  their  genera- 
tion, have  so  many  resemblances,  proves  the  legitimacy 
of  their  style,  if  such  proof  be  needed.  They  are 
searching  for  an  abstract  of  realism,  not  the  reality  of 
the  special  appearance  at  a  particular  moment  which 
the  Impressionists  expressed  with  unapproached  skill, 
but  a  wider  and  more  elusive  realism  that  will  apply 
generally — that  may  be  free  of  accidental  circumstances. 

The  development  has  been  hastened  and  stimulated 
by  Picasso,  an  artist  of  extraordinary  skill  and  powers 
of  assimilation.  He  is  an  inaugurator,  a  restless  ex- 
perimenter, and  painting  is  to  him  a  kind  of  game  in 
which  he  knows  no  hesitations.  He  has  imitated 
Lautrec,  Puvis,  Greco,  and  negro  sculpture,  but  the 
most  famous  of  his  manifestations  is  Cubism,  of  which 
no  example  is  included  in  this  exhibition. 

The  germination  of  Cubism  can  be  traced  back  to 
the  effort  of  the  post-impressionist  movement  to  escape 
a  diffused  effect  by  the  suppression  of  the  accidental 
and  the  momentary,  to  set  down  only  the  contours 
most  significant  of  the  shapes  of  objects.  In  the  work 
of  Seurat  and  Cezanne  these  contours  show  a  distinct 
tendency  to  approach  geometrical  figures,  and  Ce- 
zanne's famous  saying  that  all  forms  in  nature  can  be 
reduced  to  spheres  and  cubes,  cylinders  and  cones, 
appears  to  have  been  the  fiat  lux  of  the  Cubists.  Their 
compositions  of  abstract  design,  though  frequently  bear- 
ing descriptive  titles,  have  only  here  and  there  any 
recognizable  likeness  to  natural  objects.  They  aim  to 
appeal  mainly  to  the  mind  which  is  curious  about  the 


xv 


INTRODUCTION 

solution  of  abstract  problems,  and  to  the  senses  only 
by  the  expressive  qualities  inherent  in  the  relation  of 
lines  and  shapes  and  colors.  Their  abstractions  also 
can  be  traced  logically  to  the  disapproval  of  the 
'subject,'  growing  since  Courbet's  time,  and  the  dis- 
taste for  the  'human  interest'  as  a  motive  for  painters. 
Certain  modern  aesthetes  go  so  far  as  to  theorize  that 
painting  should  attain  to  the  quality  of  music  and 
should  appeal  only  by  means  of  color  and  form,  as 
pure  music  appeals  only  by  notes  and  intervals— a 
theory  which  leads  to  an  art  of  pure  decoration  and 
allows  only  restricted  possibilities  of  development  as 
far  as  pictures  are  concerned.  Whether  or  not  this 
is  the  reason  that  Picasso,  the  originator  of  Cubism, 
has  abandoned  its  practice,  I  am  unable  to  say;  as  a 
matter  of  fact,  he  now  paints  in  a  manner  that  is  akin 
to  the  style  of  Matisse  and  Derain,  who  remain  to- 
day the  active  leaders  of  the  progressives. 

Bryson  Burroughs. 


xvi 


CATALOGUE 


CATALOGUE 


PIERRE  BONNARD 
1867- 

1  Girl  at  Table  with  a  Dog 

Formerly  in  the  collection  of  Bernard  Goudchaux. 
Oil  on  canvas:  h.  15^2  ;  w.  2ij4  inches.  Signed: 
Bonnard. 

Lent  anonymously. 

PAUL  CEZANNE 
1 839-1 906 

2  Sorrow  (La  Douleur) 

Painted  about  1865  and  later  used  as  a  wall  deco- 
ration for  his  house  at  Aix. 
Oil  on  canvas:  h.  66;  w.  49/^  inches. 
Lent  anonymously. 


3    The  Bather 

Painted  about  1865  and  later  used  as  a  wall  deco- 
ration for  his  house  at  Aix. 
Oil  on  canvas:  h.  66;  w.  41^  inches. 
Lent  anonymously. 


3 


the  metropolitan  museum  of  art 

4  Portrait  of  the  Artist 

Painted  before  1870,  the  paint  being  applied  with 
a  palette  knife. 

Oil  on  canvas:  h.  31%;  w.  25^8  inches.  Illus- 
trated. 

Lent  anonymously. 

5  The  Roadway 

The  influence  of  Courbet  is  evident. 
Oil  on  canvas:  h.  23^2  ;  w.  28%  inches. 
Lent  anonymously. 

6  L'Estaque 

Oil  on  canvas:  h.  23^  ;  w.  28^2  inches.  Illus- 
trated. 

Lent  by  Adolph  Lewisohn. 

7  Madame  Cezanne 

Painted  in  1877.    Reproduced  in  Vollard,  pi.  39. 
Oil  on  canvas:  h.  22^  ;  w.  18^  inches. 
Lent  by  John  Quinn. 

8  Still  Life — Four  Peaches 

Formerly  in  the  Mirbeau  Collection. 
Oil  on  canvas:  h.  9^  ;  w.  14  inches. 
Lent  anonymously. 

9  Still  Life— Pears  and  Brandy  Bottle 
Shown  in  the  Cezanne  Exhibition,  19 10. 

4 


IMPRESSIONIST    AND  POST-IMPRESSIONIST 

Oil  on  canvas:  h.  21% '>  w-  25^8  inches. 
Lent  anonymously. 

10  The  Bather 

Oil  on  canvas :  h.  50 ;  w.  30  inches.  Illustrated. 
Lent  anonymously. 

11  Still  Life— Fruit 

Pears  in  a  dish,  white  crockery,  and  a  glass  of 
wine. 

Oil  on  canvas:  h.  io*4  5  w.  I2j4  inches. 
Lent  by  Walter  C.  Arensberg. 

12  The  Bathers 

Oil  on  canvas:  h.  8 ;  w.  12  inches.  Illustrated. 
Lent  by  Walter  C.  Arensberg. 

13  Madame  Cezanne 

Formerly  in  the  Pellerin  Collection. 
Oil  on  canvas:  h.  17J4  )  w.  14%  inches. 
Lent  anonymously. 

14  The  Peasant  Woman 

Formerly  in  the  Mirbeau  Collection, 
Oil  on  canvas:  h.  18^  ;  w.  15  inches. 
Lent  anonymously. 

15  Reflections  in  the  Water 

Painted  in  the  early  nineties. 

Oil  on  canvas:  h.  25^;  w.  36^  inches. 

Lent  anonymously. 

5 


THE  METROPOLITAN   MUSEUM   OF  ART 


1 6  The  Bridge 

Painted  in  the  early  nineties. 

Oil  on  canvas:  h.  29;  w.  36^2  inches. 

Lent  anonymously. 

17  Still  Life — Peaches 

On  a  table  are  peaches,  a  pitcher,  and  a  scalloped 
bowl ;  from  above  hangs  a  tapestry  curtain. 
Oil  on  canvas :  h.  32 ;  w.  39^2  inches. 
Lent  by  Mrs.  Eugene  Meyer,  Jr. 

18  Still  Life 

Fruit  in  a  dish  and  on  the  table,  also  a  goblet  and 
white  cloth. 

Formerly  in  the  Gangniat  Collection. 
Oil  on  canvas :  h.  26^ ;  w.  36^4  inches.  Illus- 
trated. 

Lent  anonymously. 

19  Rocks  and  Pines 

Oil  on  canvas:  h.  31*4  ;  w.  2^/2  inches. 
Lent  anonymously. 

20  Provence  Landscape 

Oil  on  canvas:  h.  31^ ;  w.  24^  inches. 
Lent  anonymously. 

21  Still  Life— Oranges  and  Ginger  Jar 

Oil  on  canvas:  h.  23^2  ;  w.  28^  inches. 
Lent  anonymously. 

6 


impressionist  and  post-impressionist 
22  Vase  of  Flowers 

Painted  about  1 900-1 903.  Reproduced  in  Vol- 
lard,  pi.  52. 

Oil  on  canvas:  h.  39^  ;  w.  32^  inches. 
Lent  by  Mrs.  Eugene  Meyer,  Jr. 


23  Le  Chateau  Noir 

Painted  in  1904.    Reproduced  in  Vollard,  pi.  53. 
Oil  on  canvas :  h.  29 ;  w.  38  inches. 
Lent  by  Mrs.  Eugene  Meyer,  Jr. 


24  A  Sailor 

One  of  the  last  pictures  the  artist  painted. 
Oil  on  canvas :  h.  42^  ;  w.  29^2  inches.  Illus- 
trated. 

Lent  by  Mrs.  Eugene  Meyer,  Jr. 


GUSTAVE  COURBET 
1819-1877 
25  Polish  Exile— Madame  de  Brayer 

Painted  in  Brussels  during  Courbet's  sojourn 
there,  where  it  remained  until  recently.  Theodore 
Duret  writes  of  this  portrait,  "It  is  a  painting  of 
rare  quality,  and  for  power  of  expression  and  life 
perhaps  the  most  successful  that  Courbet  ever 
painted." 

Oil  on  canvas:  h.  35%  ;  w.  28^  inches.  Signed 
and  dated:  G.  Courbet  58.  Illustrated. 
Lent  anonymously. 


7 


THE   METROPOLITAN   MUSEUM  OF  ART 

EDGARD  DEGAS 

1834-1917 

26  Chevaux  de  Courses 

Painted  in  1871.  Reproduced  in  Meier-Graefe, 
Degas,  pi.  31. 

Oil  on  canvas:  h.  12^/2  ;  w.  i6*4  inches.  Signed: 
E  Degas.  Illustrated. 
Lent  anonymously. 

27  Le  Foyer  de  la  Dance 

Painted  about  1872-73.  Formerly  in  the  Payne 
Collection.  Reproduced  in  Meier-Graefe,  Degas, 
pi.  16. 

Oil  on  canvas:  h.  33 ;  w.  Z°TA  inches.  Signed: 

Degas.  Illustrated. 

Lent  by  Mrs.  Harry  Payne  Bingham. 

28  La  Repetition  au  Foyer  de  la  Dance 

Painted  about  1875.  Formerly  in  the  Payne  Col- 
lection. 

Oil  on  canvas:  h.  16;  w.  21%  inches. 
Lent  by  Mrs.  Harry  Payne  Bingham. 

29  Interior 

Painted  about  1875.  Formerly  in  the  Pope  Col- 
lection. Reproduced  in  Meier-Graefe,  Degas, 
pl.  32. 

Oil  on  canvas:  h.  32;  w.  45%  inches.  Signed: 

Degas.  Illustrated. 

Lent  by  Harris  Whittemore. 

8 


impressionist  and  p  o  st-i m  pr  e  s  s 10  n  1st 

30  Salut  de  l'Etoile 
Painted  about  1878. 

Gouache  on  cardboard:  h.  23^;  w.  i6^4  inches. 

Signed :  Degas. 

Lent  by  Josef  Stransky. 

31  Before  the  Race 

Oil  on  canvas:  h.  i8J4;  w.  21%  inches.  Signed 
and  dated:  Degas  84. 
Lent  anonymously. 

32  The  Bather 

Pastel  on  cardboard:  h.  31^;  w.  2ij4>  inches. 
Signed  and  dated :  Degas  85. 
Lent  anonymously. 

33  After  the  Bath 

Pastel  on   cardboard:   h.  26;   w.  20^2  inches. 
Signed  and  dated:  Degas  S5. 
Lent  anonymously. 

34  Woman  on  Couch 

Formerly  in  the  Hayashi  and  Morten  Collections. 
Pastel  on  paper :  h.  20^  ;  w.  26%.  inches.  Signed : 
Degas.  Illustrated. 
Lent  by  Adolph  Lewisohn. 

35  Two  Dancers  Seated 

Pastel  on  paper:  h.  28^4  5  w.  41  inches.  Stamped 
in  red  with  sale  mark:  Degas. 
Lent  anonymously. 

9 


the  metropolitan  museum  of  art 

36  La  Modiste 

Formerly  in  the  collection  of  Roger  Marx. 
Pastel  on  paper:  h.  17%  \  w.  23^4  inches.  Signed: 
Degas. 

Lent  anonymously. 

37  Woman— Half-length 

Oil  on  canvas:  h.  18;  w.  15  inches.  Signed: 
Degas.  Illustrated. 
Lent  anonymously. 

ANDRE  DERAIN 
1880- 

38  Westminster,  Blue  and  Grey 

Oil  on  canvas :  h.  29%  >*  w.  36^  inches.  Signed 
and  dated:  A  Derain  06. 
Lent  by  John  Quinn. 

39  Parliament  Houses— Night 

Oil  on  canvas :  h.  32^2  ;  w.  40  inches.  Signed : 
A  Derain. 

Lent  by  John  Quinn. 

40  Still  Life— Fruit  and  Wine  Bottle 

Strawberries,  pears,  and  cherries,  a  goblet  and  red 
drapery. 

Oil  on  canvas:  h.  28^  ;  w.  36  inches.  Signed: 
A.  Derain.  Illustrated. 
Lent  by  John  Quinn. 

10 


impressionist  and  post-impressionist 

41  Window  on  the  Park 
Painted  in  19 12. 

Oil  on  canvas:  h.  51^  ;  w.  35  inches.  Illustrated. 
Lent  by  John  Quinn. 

42  The  Pine  Tree 

Oil  on  canvas:  h.  36^  ;  w.  25^2  inches.  Signed 
on  back:  A  Derain.  Illustrated. 
Lent  anonymously. 

43  Woman— Half-length 

Oil  on  canvas:  h.  24;  w.  18 24  inches. 
Lent  by  Walter  C.  Arensberg. 

44  Landscape 

Oil  on  canvas:  h.  28^  ;  w.  35^4  inches. 
Lent  anonymously. 

RAOUL  DUFY 
contemporary 

45  La  Promenade 

Oil  on  canvas:  h.  25^2  ;  w.  31 inches.  Signed: 

Raoul  Dufy. 

Lent  by  John  Quinn. 

PAUL  GAUGUIN 
1 848-1 903 

46  Caribbean  Woman  and  Sunflowers 

Oil  on  panel :  h.  26^ ;  w.  22  inches. 
Lent  by  John  Quinn. 

11 


the  metropolitan  museum  of  art 

47  Ia  Orana  Maria 

The  title  means  "Hail  Mary,"  in  the  language  of 
Tahiti.    Formerly  in  the  Manzi  Collection. 
Oil  on  canvas:  h.  44^4;  w.  34^2  inches.  In- 
scribed: Ia  Orana  Maria.     Signed  and  dated: 
P.  Gauguin  JQI. 
Lent  by  Adolph  Lewisohn. 


48  Maternity 

Formerly  in  the  Alphonse  Kann  Collection. 
Oil  on  canvas:  h.  36^2  ;  w.  23 -}4  inches.  Signed 
and  dated:  Paul  Gauguin  1899.  Illustrated. 
Lent  anonymously. 


49  Brittany  Landscape 

Painted  in  1892  after  his  return  from  his  first  trip 
to  Tahiti. 

Oil  on  canvas :  h.  283/2  ;  w.  36  inches.    Signed : 

P.  Gauguin. 

Lent  by  Josef  Stransky. 


50  Landscape— Te  Burao 

The  burao  is  a  variety  of  tree  with  long  roots 
which  grows  in  Tahiti. 

Oil  on  canvas:  h.  26l/2  ;  w.  35 }i  inches.  In- 
scribed: TE  Burao.  Signed  and  dated:  P.  Gau- 
guin 92. 

Lent  anonymously. 


12 


IMPRESSIONIST    AND  POST-IMPRESSIONIST 


51  Landscape 

Oil  on  canvas;  h.  28^ ;  w.  36%  inches.  Signed 
and  dated:  P.  Gauguin  91. 
Lent  anonymously. 

52  Hina— Tefatou 

An  ancient  Maori  legend  related  in  Noa-Noa. 
The  goddess  Hina  in  the  form  of  a  soft,  clinging 
woman  gently  touches  the  hair  of  Tefatou,  the 
Earth-god,  and  speaks  to  him:  "Let  man  rise  up 
again  after  he  had  died  .  .  ."  and  the  angry  but 
not  cruel  lips  of  the  god  open  to  reply,  "Man  shall 
die." 

Oil  on  canvas :  h.  44^4  J  w-  inches.  In- 

scribed: Hina — Tefatou. 
Signed  and  dated:  Gauguin  '93.  Illustrated. 
Lent  anonymously. 

53  A  Tahitian 

Oil  on  canvas:  h.  17%;  w.  13%  inches.  Signed: 
P  Go.  Illustrated. 
Lent  anonymously. 

54  Women  by  a  River 

Oil  on  canvas:  h.  33% ;  w.  37  inches.    Signed  and 
dated :  Paul  Gauguin  97.  Illustrated. 
Lent  by  Adolph  Lewisohn. 

55  Promenade  au  Bord  de  la  Mer,  Tahiti 

Oil  on  canvas:  h.  363/2  ;  w.  28^  inches.  Signed 
and  dated :  P  Gauguin  1902. 
Lent  by  John  Quinn. 


13 


THE  METROPOLITAN   MUSEUM  OF  ART 


ARMAND  GUILLAUMIN 
1841- 

56  Landscape 

Oil  on  canvas:  h.  21 ;  w.  17%  inches.  Signed 
and  dated :  A  Guillaumin  'j6. 
Lent  anonymously. 

57  The  Valley 

Oil  on  canvas:  h.  25^  ;  w.  31^2  inches.  Signed: 
Guillaumin. 

Lent  by  Hamilton  Easter  Field. 

EDOUARD  MANET 
1832-1883 

58  The  Street  Singer 

Called  also  Woman  with  Cherries.  Painted  in 
1862,  and  one  of  the  first  paintings  Manet  made 
using  Victorine  Meurend  as  model.  Duret  Cata- 
logue, No.  31. 

Oil  on  canvas:  h.  69;  w.  42^  inches.  Signed: 

ed  Manet. 

Lent  anonymously. 

59  ROUVIERE  IN  THE  ROLE  OF  HAMLET 

Philibert  Rouviere  (1 809-1 865),  a  painter  and 
actor,  who  was  famous  in  Shakespeare  roles — 
Lear,  Macbeth,  Othello,  and  Hamlet.  Exhibited 
in  1867.    Duret  Catalogue,  No.  77. 


14 


IMPRESSIONIST    AND  POST-IMPRESSIONIST 


Oil  on  canvas:  h.  73^4  ;  w.  43  inches.  Signed: 
Manet. 

Lent  by  Mrs.  George  Vanderbilt. 

60  Soap-bubbles 

Painted  in  1867.    Duret  Catalogue,  No.  96.  For- 
merly in  the  Collection  of  Albert  Hecht,  Paris. 
Oil  on  canvas:  h.  39;  w.  31^  inches. 
Lent  by  Adolph  Lewisohn. 

61  Le  Repos 

Portrait  of  Berthe  Morisot,  who  married  Manet's 
brother  Eugene.  Painted  about  1870  and  exhib- 
ited in  the  Salon  of  1873.  From  the  Duret  Col- 
lection, Catalogue  No.  125. 

Oil  on  canvas:  h.  58^  ;  w.  45  inches.  Illustrated. 
Lent  by  Mrs.  George  Vanderbilt. 

62  La  Promenade 

Painted  in  1878.  Formerly  in  the  Pellerin  Col- 
lection. Duret  Catalogue,  No.  259.  Meier- 
Graefe,  Entwicklungsgeschichte,  vol.  II,  p.  251. 
Oil  on  canvas:  h.  36^  ;  w.  27^4  inches.  Signed: 
E.  Manet.  Illustrated. 
Lent  by  Josef  Stransky. 

63  Still  Life 

A  melon  on  a  silver  platter,  a  black  bottle,  some 
fruit,  and  other  articles  on  a  sideboard  with  a 
white  cover. 


15 


THE   METROPOLITAN   MUSEUM  OF  ART 

Oil  on  canvas:  h.  27%  >'  w.  36%  inches.  Signed: 
Manet. 

Lent  by  Mrs.  Eugene  Meyer,  Jr. 

HENRI  MATISSE 
1869- 

64  Flowers  in  a  Vase 

Formerly  in  the  collection  of  Bernard  Goudchaux. 
Oil  on  canvas:  h.  21  ;  w.  17^2  inches.  Signed: 
Henri  Matisse. 
Lent  anonymously. 

65  Girl  with  Flowers 

Oil  on  canvas  mounted  on  a  panel:  h.  17;  w.  14 
inches.  Illustrated. 
Lent  by  John  Quinn. 

66  Window  on  the  Garden 

Oil  on  canvas:  h.  31%  ;  w.  25^  inches.  Signed: 
Henri  Matisse. 
Lent  anonymously. 

67  Cyclamen 

Oil  on  panel :  h.  28^  ;  w.  24  inches.     Signed : 
Henri  Matisse. 
Lent  by  John  Quinn. 

68  Still  Life— Melon  and  Peaches 

Oil  on  canvas:  h.  i8^4  ;  w.  30^  inches.  Signed: 
Henri  Matisse. 
Lent  by  John  Quinn. 

16 


impressionist  and  post-impressionist 

69  Spanish  Girl 

Oil  on  canvas :  h.  46 ;  w.  34^4  inches.    Signed : 
Henri  Matisse. 
Lent  by  John  Quinn. 

70  Etretat 

Oil  on  canvas:  h.  36^  ;  w.  283/2  inches.  Signed: 
Henri  Matisse.  Illustrated. 
Lent  by  John  Quinn. 

71  Interior 

Oil  on  canvas:  h.  57^2  ;  w.  46  inches.  Signed: 
Henri  Matisse.  Illustrated. 
Lent  anonymously. 

72  Woman  in  an  Armchair 

Oil  on  canvas:  h.  21%;  w.  18  inches.  Signed: 
Henri  Matisse. 
Lent  anonymously. 

CLAUDE  MONET 
1840- 

73  Falaises 

Oil  on  canvas:  h.  23^;  w.  31^  inches.  Signed 

and  dated:  Monet  81. 

Lent  by  William  Church  Osborn. 

74  Etretat 

Oil  on  canvas:  h.  23^  ;  w.  32  inches.    Signed  and 

dated:  Claude  Monet  83. 

Lent  by  Mrs.  Charles  H.  Senff.c 

17 


the  metropolitan  museum  of  art 

75  Vetheuil 

Oil  on  canvas:  w.  39^/2  inches.  Signed 

and  dated:  Claude  Monet  1884. 
Lent  by  William  Church  Osborn. 


76  Plage  de  Sainte  Adresse 

Oil  on  canvas:  h.  29^  ;  w.  39^2  inches.  Signed: 
Claude  Monet. 

Lent  by  William  Church  Osborn. 


77  Etretat 

Oil  on  canvas:  h.  32  ;  w.  25^4  inches.    Signed  and 
dated:  Claude  Monet  86. 
Lent  anonymously. 

78  The  Contarini  Palace,  Venice 

Oil  on  canvas:  h.  29;  w.  36^  inches.    Signed  and 
dated:  Claude  Monet  1908. 
Lent  by  Adolph  Lewisohn. 


PABLO  PICASSO 
1881- 

79  Woman  at  a  Table 

In  the  so-called  blue  manner. 

Oil  on  canvas:  h.  26^4  )  w.  20J/6  inches.  Signed: 

Picasso.  Illustrated. 

Lent  by  John  Quinn. 

18 


impressionist  and  p  0  st- 1 m  pr  e  s  s 10  n i  st 

80  Woman  Dressing  Her  Hair 

Painted  about  1905,  in  the  so-called  pink  manner. 
Oil  on  canvas:  h.  50;  w.  35^4  inches.  Signed: 
Picasso, 

Lent  by  John  Quinn. 

81  Landscape 

Oil  on  canvas:  h.  19^2 ;  w.  25^  inches.  Signed 
and  dated:  Picasso  19.  Illustrated. 
Lent  anonymously. 

82  Portrait  of  a  Lady 

Oil  on  canvas:  h.  28^;  w.  19^4  inches.  Signed: 
Picasso. 

Lent  anonymously. 

CAMILLE  PISSARRO 

1830-1903 

83  Environs  de  Pontoise* 

Oil  on  canvas:  h.  21^2 ;  w.  29  inches.    Signed  and 
dated :  C.  Pissarro  1872. 
Lent  by  Josef  Stransky. 

84  Ascending  Road 

Oil  on  canvas:  h.  20^  ;  w.  25*4  inches.  Signed: 

C.  Pissarro. 

Lent  anonymously. 

*  Not  exhibited  because  of  lack  of  space. 
19 


the  metropolitan  museum  of  art 

85  The  Market-place 

Gouache  on  cardboard:  h.  33)4  ;  w.  27^4  inches. 
Signed  and  dated :  C.  Pissarro  82.  Illustrated. 
Lent  by  Adolph  Lewisohn. 

86  Apple  Trees  in  Blossom 

Oil  on  canvas :  h.  2934  >  w.  36^  inches.  Signed 

and  dated:  C.  Pissarro  95. 

Lent  by  William  Church  Osborn. 

87  Apres-midi  Soleil,  Rouen 

Oil  on  canvas:  h.  22*4  >'  w. 25^4  inches.  Signed 
and  dated :  C.  Pissarro  g6. 
Lent  by  Josef  Stransky. 

88  La  Cote  Sainte  Catherine,  Rouen 

Oil  on  canvas:  h.  28^4  ;  w.  36*4  inches.  Signed 
and  dated:  C.  Pissarro  iSq6. 
Lent  anonymously. 

PIERRE  PUVIS  DE  CHAVANNES 
1824-1898 

89  La  Normandie 

Oil  on  canvas:  h.  36^  ;  w.  25  inches.    Signed  and 
dated:  P.  Puvis  de  Chavannes  pj.  Illustrated. 
Lent  by  Mrs.  Gano  Dunn. 

ODILON  REDON 
1840-1916 

90  Roger  and  Angelica 

A  subject  taken  from  Ariosto's  Orlando  Furioso. 
20 


IMPRESSIONIST    AND    P O ST- 1 M  PR E S S ION  1ST 

Pastel  on  cardboard:  h.  Z1ZA  >  w-  3°/4  inches. 
Signed:  odilon  redon. 
Lent  anonymously. 

91  Apollo 

Oil  on  canvas:  h.  29;  w.  21^  inches.  Signed: 
odilon  redon.  Illustrated. 
Lent  by  John  Quinn. 

92  Etruscan  Vase 

Oil  on  canvas:  h.  32;  w.  2334  inches.  Illustrated. 
Lent  by  John  Quinn. 

93  Two  Heads  among  Flowers 

Oil  on  canvas:  h.  26;  w.  20  inches.  Signed: 

ODILON  REDON. 

Lent  by  John  Quinn. 

94  Vase  of  Flowers 

A  vase  containing  white  phlox,  zinnias,  black-eyed 
Susans. 

Oil  on  canvas:  h.  28^  ;  w.  21 inches.  Signed: 

ODILON  REDON. 

Lent  by  John  Quinn. 

95  Illumined  Flower 

Pastel  on  paper:  h.  23^  ;  w.  20^2  inches.  Signed: 

ODILON  REDON. 

Lent  by  John  Quinn. 

21 


the  metropolitan  museum  of  art 

96  Orpheus 

Pastel  on  cardboard :  h.  28^  ;  w.  23^2  inches. 
Signed :  odilon  redon.  Illustrated. 
Lent  by  John  Quinn. 

97  Ophelia 

Oil  on  canvas :  h.  30^2  ;  w.  24^2  inches. 
Lent  anonymously. 

98  Silence 

Oil   on   cardboard:    h.  21^2;   w.  21^  inches. 
Signed :  odilon  redon.  Illustrated. 
Lent  anonymously. 

99  Vase  of  Flowers 

A  vase  of  summer  wild  flowers,  including  poppies, 
asters,  and  daisies. 

Pastel  on  paper:  h.  28%  >  w.  21  inches.  Signed: 

ODILON  REDON. 

Lent  by  John  Quinn. 

AUGUSTE  RENOIR 
1841-1919 

100  Lise 

Painted  perhaps  a  year  or  two  later  than  the  por- 
trait of  Lise  standing,  which  is  dated  '67. 
Oil  on  canvas:  h.  18;  w.  15  inches.  Signed: 
Renoir. 

Lent  by  Josef  Stransky. 


22 


IMPRESSIONIST    AND    P  0  ST- 1 M  P  R  E  S  S I O  N  I  ST 

101  Lady  in  Black 

Oil  on  canvas:  h.  32;  w.  25^4  inches.    Signed  and 
dated:  Renoir  71.  Illustrated. 
Lent  by  Josef  Stransky. 

102  Madame  Maitre 

Renoir  painted  a  full-length  portrait  of  Mme. 
Ed.  Maitre  in  1871. 

Oil  on  canvas:  h.  14^;  w.  12  inches.  Signed: 
Renoir. 

Lent  anonymously. 

103  Man  Lying  on  Sofa 

Formerly  in  the  Cheramy  Collection. 

Oil  on  canvas:  h.  8J4  ;  w.  11  inches.    Signed:  A. 

Renoir. 

Lent  anonymously. 

104  Lady  with  a  Parasol 
Painted  in  1878. 

Oil  on  canvas:  h.  18^2  ;  w.  22^4  inches.  Signed: 
Renoir. 

Lent  by  Josef  Stransky. 

105  Un  Jardin,  Rue  Cortot,  Montmartre,  1878 

Oil  on  canvas:  h.  61;  w.  39  inches.  Signed: 
Renoir.  Illustrated. 
Lent  anonymously. 

23 


the  metropolitan  museum  of  art 

106  The  Vintagers 

Oil  on  canvas:  h.  2V/2  ;  w.  26  inches.    Signed  and 
dated :  Renoir  gg.  Illustrated. 
Lent  by  Adolph  Lewisohn. 

107  Benjamin  Godard  and  His  Wife 

Formerly  in  the  collection  of  M.  Jos.  Hessele. 
Oil  on  canvas:  h.  13;  w.g%   inches.  Signed: 
Renoir.  Illustrated. 
Lent  anonymously. 

108  Fog  at  Guernsey 

Oil  on  canvas:  h.  22^  ;  w.  27^4  inches.  Signed 
and  dated :  Renoir  83. 
Lent  anonymously. 

109  Chrysanthemums 

Formerly  in  the  collection  of  M.  Jos.  Hessele. 
Oil  on  canvas:  h.25%;  w.  21  inches.  Signed: 
Renoir. 

Lent  anonymously. 

no  Argenteuil 

Oil  on  canvas:  h.  21^2;  w.  25^  inches.  Signed 
and  dated  :  Renoir  88. 
Lent  by  Josef  Stransky. 


in  Girl  Arranging  Her  Chemise 
Painted  in  1905. 

24 


IMPRESSIONIST    AND  POST-IMPRESSIONIST 

Oil  on  canvas:  h.  25^2  ;  w.  21  inches.  Signed: 
Renoir. 

Lent  by  Josef  Stransky. 

GEORGES  ROUAULT 
1871- 

112  Woman  with  a  Hat 

Water-color  on  cardboard:  h.  31 ;  w.  23 inches. 
Signed  and  dated :  G.  Rouault  1Q08. 
Lent  by  John  Quinn. 

GEORGES  SEURAT 
1859-1891 

113  Sunday  at  La  Grande  Jatte 

Oil  on  canvas:  h.  283/2  ;  w.  41  inches.  Illustrated. 
Lent  by  Adolph  Lewisohn. 

114  La  Poudreuse 

Formerly  in  the  Feneon  Collection. 
Oil  on  canvas:  h.  33 ;  w.  31  inches. 
Lent  anonymously. 

HENRI  DE  TOULOUSE-LAUTREC 
1 864-1901 

115  Portrait  of  Cipa  Godeski 

Formerly  in  the  Alphonse  Kann  Collection. 
Gouache  on  cardboard:  h.  20;  w.  15^  inches.  In- 
scribed and  signed:  A  Cipa,  T-Lautrec.  Illus- 
trated. 

Lent  anonymously. 

25 


THE  METROPOLITAN   MUSEUM   OF  ART 

116  FlLLE  DE  MONTMARTRE 

Gouache  on  cardboard:  h.  26^ ;  w.  21*4  inches. 
Signed:  T-L. 
Lent  anonymously. 

117  Woman  with  a  Dog 

Gouache  on  cardboard :  h.  29^  ;  w.  22^  inches. 
Signed  and  dated:  T-Lautrec  gi.  Illustrated. 
Lent  anonymously. 

118  Woman  Seated  in  a  Garden 

Gouache  on  paper:   h.  19%;  w.  12^  inches. 
Signed:  T-Lautrec. 
Lent  by  John  Quinn. 

VINCENT  VAN  GOGH 
1853-1890 

119  Portrait  of  the  Artist 

Painted  about  1887,  when  the  artist  was  thirty- 
five. 

Oil  on  canvas:  h.  16;  w.  13^  inches.  Illustrated. 
Lent  by  John  Quinn. 

120  Still  Life — Lemons  and  Carafe 

Oil  on  canvas:  h.  18;  w.  15  inches.    Signed  and 

dated :  Vincent  8j. 

Lent  by  Mrs.  J.  Van  Gogh-Bonger. 

26 


IMPRESSIONIST    AND    P  O  ST- IM  P  R  E  S  S I O  N  I  ST 


121  Chair 

Oil  on  canvas:  h.  36;  w.  25^8  inches.  Signed: 
Vincent. 

Lent  by  Mrs.  J.  Van  Gogh-Bonger. 

122  Postman 

While  at  Aries  in  1888,  Van  Gogh  painted  his 

friend  Roulin  several  times. 

Oil  on  canvas:  h.  25%  ;  w.  21^4  inches. 

Lent  by  Mrs.  J.  Van  Gogh-Bonger. 

123  Head  of  a  Boy 

Oil  on  canvas:  h.  17;  w.  14*4  inches. 
Lent  anonymously. 

124  Plough 

While  the  artist  was  in  a  hospital  at  St.  Remy 
during  the  year  1889-90,  he  adapted  to  his  own 
style  a  number  of  compositions  by  other  painters 
of  whose  work  he  was  supplied  reproductions. 
The  Plough  is  after  J.  F.  Millet's  Winter. 
Oil  on  canvas:  h.  28^ ;  w.  36*4  inches.  Illus- 
trated. 

Lent  by  Mrs.  J.  Van  Gogh-Bonger. 

125  Farm-house— Auvers 

Supposedly  painted  at  Auvers-sur-Oise,  where  dur- 
ing 1890  Van  Gogh  devoted  two  months  to  pro- 
ductive work  before  he  ended  his  life. 
Oil  on  canvas:  h.  17%;  w.  23^3  inches.  Illus- 
trated. 

Lent  anonymously. 


27 


THE   METROPOLITAN  MUSEUM  OF  ART 

MAURICE  DE  VLAMINCK 
1876- 

126  The  Old  Harbor  of  Marseilles 

Oil  on  canvas:  h.  29%  ;  w.  34/4  inches.  Signed: 
Vlaminck.  Illustrated. 
Lent  by  John  Quinn. 

EDOUARD  VUILLARD 
1867- 

127  Madame  Hessele 

Oil  on  cardboard:  h.  21 ;  w.  13^  inches.  Signed: 
E.  Vuillard. 
Lent  anonymously. 


28 


Portrait  of  the  Artist 
by  paul  cezanne 


6 

L'ESTAQUE 
BY  PAUL  CEZANNE 


The  Bather 
by  paul  cezanne" 


24 

A  Sailor 

BY  PAUL  CEZANNE 


26 

Chevaux  de  Courses 
by  edgard  degas 


27 

Le  Foyer  de  la  Dance 

BY  EDGARD  DEGAS 


29 

Interior 
by  edgard  degas 


34 

Woman  on  Couch 
by  edgard  degas 


37 

Woman  —  Half-length 
by  edgard  degas 


40 

Still  Life— Fruit  and  Wine  Bottle 

BY  ANDRE  DERAIN 


4i 

Window  on  the  Park 
by  andre  derain 


42 

The  Pine  Tree 

BY  ANDRE  DERAIN 


48 

Maternity 
by  paul  gauguin 


52 

Hina— Tefatou 
by  paul  gauguin 


53 

A  Tahiti  an 

BY  PAUL  GAUGUIN 


54 

Women  by  a  River 
by  paul  gauguin 


6i 

Le  Repos 

BY  EDOUARD  MANET 


62 

La  Promenade 
by  edouard  manet 


65 

Girl  with  Flowers 
by  henri  matisse 


7o 
Etretat 

BY  HENRI  MATISSE 


7i 

Interior 
by  henri  matisse 


79 

Woman  at  a  Table 
by  pablo  picasso 


8i 

Landscape 

BY  PABLO  PICASSO 


8s 

The  Market-place 

BY  CAMILLE  PISSARRO 


89 

La  Normandie 
by  pierre  puvis  de  chavannes 


9i 

Apollo. 

BY  ODILON  REDON 


92 

Etruscan  Vase 

BY  ODILON  REDON 


96 

Orpheus 
by  odilon  redon 


Silence 
by  odilon  redon 


IOI 

Lady  in  Black 
by  auguste  renoir 


io5 

Un  Jardin,  Rue  Cortot,  Montmartre,  1878 
by  auguste  renoir 


1 06 

The  Vintagers 


BY  AUGUSTE  RENOIR 


io7 

Benjamin  Godard  and  His  Wife 
by  auguste  renoir 


H3 

Sunday  at  La  Grande  Jatte 
by  georges  seurat 


H5 

Portrait  of  Cipa  Godeski 
by  henri  de  toulouse-lautrec 


ii9 

Portrait  of  the  Artist 
by  vincent  van  gogh 


124 

Plough 

BY  VINCENT  VAN  GOGH 


125 

Farm-house— Auvers 
by  vincent  van  gogh 


126 

The  Old  Harbor  of  Marseilles 
by  maurice  de  vlaminck  - 


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